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This book is a study of attitudes toward animals in early modern Western culture. Emphasizing the influence of anthropocentrism on attitudes toward animals, historian Nathaniel Wolloch traces the various ways in which animals were viewed, from predominantly anti-animal thinking to increasingly pro-animal sentiments and viewpoints. Wolloch devotes a chapter each to six major themes: early modern philosophical perspectives on animals till the end of the seventeenth century, pro-animal opinions in the eighteenth-century, the connection between attitudes toward animals and the early modern debate about the existence of extraterrestrial life, scientific modes of discussing animals, the role of animals in early modern anthropomorphic literature, and depictions of animals in seventeenth-century Dutch and Flemish painting. He concludes his broad, interdisciplinary study by linking these historical trends to the modern discussion of animal rights and ecological issues.
Hardly a day goes by without news of the extinction or endangerment of yet another animal species, followed by urgent but largely unheeded calls for action. An eloquent denunciation of the failures of Canada's government and society to protect wildlife from human exploitation, Max Foran's The Subjugation of Canadian Wildlife argues that a root cause of wildlife depletions and habitat loss is the culturally ingrained beliefs that underpin management practices and policies. Tracing the evolution of the highly contestable assumptions that define the human–wildlife relationship, Foran stresses the price wild animals pay for human self-interest. Using several examples of government oversight at the federal, provincial, and territorial levels, from the Species at Risk Act to the Biodiversity Strategy, Protected Areas Network, and provincial management plans, this volume shows that wildlife policies are as much – or more – about human needs, priorities, and profit as they are about preservation. Challenging established concepts including ecological integrity, adaptive management, sport hunting as conservation, and the flawed belief that wildlife is a renewable resource, the author compels us to recognize animals as sentient individuals and as integral components of complex ecological systems. A passionate critique of contemporary wildlife policy, The Subjugation of Canadian Wildlife calls for belief-change as the best hope for an ecologically healthy, wildlife-rich Canada.
This book is the outgrowth of a memorial conference to honour the scientific contributions of Robert B. Cairns, an internationally recognised interdisciplinary developmental scientist. It is organised around research themes that were an integral part of Dr Cairns' theories and research: neural and developmental plasticity; brain-behaviour bidirectionality; gene-environment interactions. Throughout this book, these themes are linked together by employing animal models and clinical investigations through multiple levels of analysis approach to understanding the origins, development, desistance and prevention of aggression. These studies will add to the compendium of basic knowledge on the developmental psychobiology of aggression and will aid in the ultimate translation of this knowledge to clinical and community settings. This book hopes to foster the legacy of Robert B. Cairns to facilitate the theoretical development and research of a new generation of developmental scientists dedicated to relieving the tragic consequences of aggression on the individual and society.
Unchecked aggression and violence take a significant toll on society. With recent advances in pharmacology and genetic manipulation techniques, new interest has developed in the biological mechanisms of aggression. The primary goal of this title is to summarise and synthesis recent advances in the subject.
A timely history of the connections between science, segregation, and species in twentieth-century South Africa. Throughout the twentieth century, rural South Africa was dominated by systems of racial segregation and apartheid that brutally oppressed its Black population. At the same time, the countryside was defined by a related settler obsession: the control of animals that farmers, scientists, and state officials considered pests. Elephants rampaged on farmlands, trampling fences, crops, and occasionally humans. Grain-eating birds flocked on plantations, devouring harvests. Bubonic plague crept across the veld in the bodies of burrowing and crop-devouring rodents. In Segregated Species, Jules Skotnes-Brown argues that racial segregation and pest control were closely connected in early twentieth-century South Africa. Strategies for the containment of pests were redeployed for the management of humans and vice versa. Settlers blamed racialized populations for the abundance of pests and mobilized metaphors of pestilence to dehumanize them. Even knowledge produced about pests was segregated into the binary categories of "native" and "scientific." Black South Africans critiqued such injustices, and some circulated revolutionary rhetoric through images and metaphors of locusts. Ultimately, pest-control practices played an important role in shaping colonial hierarchies of race and species and in mediating relationships among human groups. Skotnes-Brown demonstrates that the history of South Africa—and colonial history generally—cannot be fully understood without analyzing the treatment of both animals and humans.
Murdering Animals confronts the speciesism underlying the disparate social censures of homicide and “theriocide” (the killing of animals by humans), and as such, is a plea to take animal rights seriously. Its substantive topics include the criminal prosecution and execution of justiciable animals in early modern Europe; images of hunters put on trial by their prey in the upside-down world of the Dutch Golden Age; the artist William Hogarth’s patriotic depictions of animals in 18th Century London; and the playwright J.M. Synge’s representation of parricide in fin de siècle Ireland. Combining insights from intellectual history, the history of the fine and performing arts, and what is known about today’s invisibilised sites of animal killing, Murdering Animals inevitably asks: should theriocide be considered murder? With its strong multi- and interdisciplinary approach, this work of collaboration will appeal to scholars of social and species justice in animal studies, criminology, sociology and law.
How do our senses help us to understand the world? This question, which preoccupied Enlightenment thinkers, also emerged as a key theme in depictions of animals in eighteenth-century art. This book examines the ways in which painters such as Chardin, as well as sculptors, porcelain modelers, and other decorative designers portrayed animals as sensing subjects who physically confirmed the value of material experience. The sensual style known today as the Rococo encouraged the proliferation of animals as exemplars of empirical inquiry, ranging from the popular subject of the monkey artist to the alchemical wonders of the life-sized porcelain animals created for the Saxon court. Examining writings on sensory knowledge by La Mettrie, Condillac, Diderot and other philosophers side by side with depictions of the animal in art, Cohen argues that artists promoted the animal as a sensory subject while also validating the material basis of their own professional practice.
Many people who have thought about God have not thought about animals, or about the relationship between the two. But among those who have are some of the most celebrated religious thinkers, including Michel de Montaigne, Thomas Tryon, John Wesley, John Ruskin, Leo Tolstoy, Mohandas K. Gandhi, Albert Schweitzer, and Paul Tillich. This volume comprises 24 scholarly studies that detail challenges to the dominant anthropocentrism of most religious traditions. The editors have brought together Jewish, Unitarian, Christian, transcendentalist, Muslim, Hindu, Dissenting, deist, and Quaker voices, each offering a unique theological perspective that counters the neglect of the nonhuman. Animal Theologians is divided into three parts starting with the pioneers who first saw a relationship between animals and divinity, those who contributed to the expansion of social sensibility to animals, and ending with the work of contemporary theologians. The essays in this volume use contextual and historical background to describe what led animal theologians to their beliefs, and then pave way for further developments in this expanding field. This volume is an act of reclaiming different religious traditions for animals by recovering lost voices.
The Artful Species explores the idea that our aesthetic responses and art behaviors are connected to our evolved human nature. Our humanoid forerunners displayed aesthetic sensibilities hundreds of thousands of years ago and the art standing of prehistoric cave paintings is virtually uncontested. In Part One, Stephen Davies analyses the key concepts of the aesthetic, art, and evolution, and explores how they might be related. He considers a range of issues, including whether animals have aesthetic tastes and whether art is not only universal but cross-culturally comprehensible. Part Two examines the many aesthetic interests humans take in animals and how these reflect our biological interests, and the idea that our environmental and landscape preferences are rooted in the experiences of our distant ancestors. In considering the controversial subject of human beauty, evolutionary psychologists have traditionally focused on female physical attractiveness in the context of mate selection, but Davies presents a broader view which decouples human beauty from mate choice and explains why it goes more with social performance and self-presentation. Part Three asks if the arts, together or singly, are biological adaptations, incidental byproducts of nonart adaptations, or so removed from biology that they rate as purely cultural technologies. Davies does not conclusively support any one of the many positions considered here, but argues that there are grounds, nevertheless, for seeing art as part of human nature. Art serves as a powerful and complex signal of human fitness, and so cannot be incidental to biology. Indeed, aesthetic responses and art behaviors are the touchstones of our humanity.